Straight from the mouth of a master – Dieter Rams’ 1976 speech released

In 1976 leading designer Dieter Rams sketched out some of his core beliefs in front of an audience in New York City. Concerning his work with Vitsoe, it’s an invaluable insight into the principles on which the work of one of the 20th Century’s leading design figures were based and is a must-read for creatives across any design discipline. Massively ahead of its time and bursting with sound advice, the full transcript has just been released to mark Dieter’s 80th birthday later this month.

Dieter Rams: Design by Vitsoe

Delivered in December 1976 at the Jack Lenor Larsen New York showroom.

The ideas behind my work as a designer have to match with a company’s objectives. This principle applies to my work not only at Braun but also at Vitsoe. I have been working for these two companies for about 20 years and – I like to point out – only for these two companies.

I am convinced that design – at least in the terms I understand it – cannot be performed by someone outside the company. I am absolutely convinced that this is true if products are designed as part of a larger system, like we do at Vitsoe.

In 1957 I began to develop a storage system that formed the basis of the company Vitsoe, which was founded in 1959. Thus the ideology behind my design is engrained within the company.

Ladies and gentlemen, design is a popular subject today. No wonder because, in the face of increasing competition, design is often the only product differentiation that is truly discernible to the buyer.

I am convinced that a well-thought-out design is decisive to the quality of a product. A poorly-designed product is not only uglier than a well-designed one but it is of less value and use. Worst of all it might be intrusive.

The development and changes that we have initiated with our work at Vitsoe are, I believe, positive for the development of good design as a whole. The introduction of good design is needed for a company to be successful.

However, our definition of success may be different to yours. Striving for good design is of social importance as it means, amongst other things, absolutely avoiding waste.

What is good design? Product design is the total configuration of a product: its form, colour, material and construction. The product must serve its intended purpose efficiently.

A designer who wants to achieve good design must not regard himself as an artist who, according to taste and aesthetics, is merely dressing-up products with a lastminute garment.

The designer must be the gestaltingenieur or creative engineer. They synthesise the completed product from the various elements that make up its design. Their work is largely rational, meaning that aesthetic decisions are justified by an understanding of the product’s purpose.

I am convinced that people have an interest in what we are doing at Vitsoe since our products are useful; I expect they also appreciate the aesthetic that follows. These qualities are the result of progressive and intelligent problem solving.

Functionality must be at the centre of good design. A product must be functional in itself but it also must function as part of a wider system: the home. Vitsoe’s 606 Universal Shelving System is successful due to its high functionality and its ability to adapt to any environment.

Vitsoe’s furniture does not shout; it performs its function in relative anonymity alongside furniture from any designer and in homes from any era. We make the effort to produce products like this for the intelligent and responsible users – not consumers – who consciously select products that they can really use. Good design must be able to coexist.

Dieter Rams’ 10 Design Principles

You cannot understand good design if you do not understand people; design is made for people. It must be ergonomically correct, meaning it must harmonise with a human being’s strengths, dimensions, senses and understanding. Vitsoe’s direct contact with its customers has led to a deep understanding of people.

Over the years, our understanding of how you use a shelf or an armchair has increased. We have educated and diligent people worldwide who understand how to plan systems in configurations that our customers may not necessarily have thought of at the beginning.

All objects that are to be used must be subject to a clear order. The remarkable order of design at Vitsoe has the purpose of communicating the function of the object to the user. The design of a Vitsoe product clearly points out its purpose and its use – and facilitates them.

The order of the elements – their arrangement, their shape, their size and their colour – is based on a thoroughly-planned system. This system is the language of Vitsoe design.

But this order is not self-serving; and I would not call it ideology because it is a practical necessity. For design to be understood by everyone – which good design should strive to do – it should be as simple as possible.

Design at Vitsoe brings all individual elements into proportion. An often-cited feature of the Vitsoe collection is its balance, its harmony, its belonging together. All structures, components and finishes coexist as a well-balanced and harmonious design that gives it usability.

The majority of products that we encounter in our day-to-day lives scream for attention or try to impress us with their magnificence or miniscule size. These objects try to dictate our relationships with them. Good design creates powerful long-lasting relationships with products as good design creates objects with balanced proportions; at Vitsoe we go further by trying to create objects in balanced proportion with people.

“I imagine our current situation will cause future generations to shudder at the thoughtlessness in the way in which we today fill our homes, our cities and our landscape with a chaos of assorted junk.”

Dieter Rams

To use design to impress, to polish things up, to make them chic, is no design at all. This is packaging. When we concentrate on the essential elements in design, when we omit all superfluous elements, we find forms become: quiet, comfortable, understandable and, most importantly, long lasting.

Vitsoe products are in constant evolution. We do not limit our products to the manufacturing technologies available at the time of their design. Built into the language of Vitsoe products is adaptability – adaptability for the user in the home and adaptability in design and manufacture.

We are constantly looking for new and better technical solutions for our products. As technology and production processes are always advancing, innovations are not only possible but they are necessary for a product to continue to be considered good design.

We have experienced that people are more willing than ever to change their lifestyles; that they accept innovative solutions – not fake ones – and are able to rid themselves of old and cemented habits with our products. They expect such innovative solutions, particularly from Vitsoe.

Ladies and gentlemen, our environment is changing rapidly. How will these changes affect our design concepts? Can design that claims longer-range validity be reactive to current circumstances or must it be proactive for the future?

In a room where the proportions are noticed we feel better and we think differently. A neglected and uncared-for landscape will have a different effect on our lives than one that is natural and orderly. There is a lot of work to do on the topic of our physical surroundings affecting our psychological functions. This is the work we do at Vitsoe.

But Vitsoe only makes furniture today. There are larger questions that we need to answer about our urban environment and how it affects us as individuals and as a society.

What effects do electricity pylons, skyscrapers, highways, street lighting and car parks, for example, have on our psyche and relationships? We know that the residents of anonymous concrete blocks can become depressed as a result of their surroundings. But who is researching these things systematically? Who takes all of this really seriously?

I imagine our current situation will cause future generations to shudder at the thoughtlessness in the way in which we today fill our homes, our cities and our landscape with a chaos of assorted junk. What a fatalistic apathy we have towards the effect of such things. What atrocities we have to tolerate. Yet we are only half aware of them.

This complex situation is increasing and possibly irreversible: there are no discrete actions anymore. Everything interacts and is dependent on other things we must think more thoroughly about what we are doing, how we are doing it and why we are doing it.

Indeed, the collapse of the entire system may be impending. I have spoken of our surroundings but let us look at the wider environment: the world we live in. There is an increasing and irreversible shortage of natural resources: raw materials, energy, food, and land. This must compel us to rationalise, especially in design. The times of thoughtless design, which can only flourish in times of thoughtless production for thoughtless consumption, are over.

We cannot afford any more thoughtlessness. The complexity of systems and shortage of natural resources should compel a change of individual attitudes and attitudes as a society. We learn as individuals and we learn as a group. We are beginning to understand the changes that we are only just seeing. We must take notice with increasing soberness and, hopefully, with growing alertness and rationalism.

Ladies and gentlemen, if we at Vitsoe have contributed towards intelligent, responsible design and a higher quality of objects, I believe we owe our thanks to a great degree to the unselfish enthusiasm and the always-consequent attitude of one man: Niels Vitsoe. At the same time thanks to all the members of staff, who sense that they have done a little more than just produce another short-lived consumer product. Good design is a reality!

Sustainability can get a bit of a bad rap, but Studio Swine are one of many outfits showing that connotations of hemp trousers and the like are daft and outdated. The duo – who scrubbed up very well indeed in our Winter edition of Printed Pages – has recently added yet another string to their sustainable-but-beautiful bow in the form of these sumptuous Gyrecraft pieces. The decidedly opulent looking works were created thanks to an arduous 1000 nautical mile journey across the seas, which saw a crew using a “Solar Extruder” to draw plastic from the waters. The device works by harnessing sunlight to melt and extrude plastic from the sea, and these little fragments were then used to create five gorgeous objets d’art, one representing each of the five major ocean gyres.

Human Organs-on-Chips has been announced as the Design Museum’s Designs of the Year 2015 winner. Designed by Donald Ingber and Dan Dongeun Huh at Harvard University’s Wyss Institute, the chips are devices that carry “living human cells that mimic the complex tissue structures, functions and mechanical motions of whole organs,” says the Design Museum.

“The team of scientists that produced this remarkable object don’t come from a conventional design background. But what they have done is clearly a brilliant piece of design,” says Design Museum director Deyan Sudjic. “They identified a serious problem; how do we predict how human cells will behave, and they solved it with elegance and economy of means, putting technology from apparently unrelated fields to work in new ways."

Powers of Ten is a 1977 film the Eames office made for IBM. It begins with a couple having a picnic in a Michigan park before zooming out every 10 seconds by a factor of 10. It travels as far as 100 million light years into outer space before going into reverse, the camera rocketing back to Earth, back to the USA, back to the park, back to the couple and then onwards into the body of the man we first saw, down through his skin and into his cells.

One glance at Instagram or any interiors blog circa 2015 and it feels like marble, or at least cheap mimicries, are decorating homes everywhere. But there’s none of the ubiquitous “funky” accessory holders or dinnerware in Tomás Alonso’s marble-based project, Lines & Waves. Exploring pattern and stackability, Tomas’ interlocking tables are a thing of true beauty. Machine-milled grooves have been cut into the top and bottom of marble blocks creating objects that look like crinkled salami and giant McCoy’s crisps.

Bigger is always better they say, but when you live in a flat or anywhere that’s not a barn this is impossible, as far as furniture’s concerned. Days spent walking around furniture shops, friends’ houses and skips armed with a tape measure and a recurring sense of disappointment can become disheartening even for the most optimistic shopper. You’re left with a choice; either learn carpentry or buy a table that will give you bruised shins every time you squeeze past. But fear not, for product design company Be-elastic has created SNAP to end all your table-top woes.

We’re drawn to a lot of the projects we cover by their aesthetic qualities but sometimes it seems right and proper to flag up something whose form may not promise much, but whose function is really exciting. So it is with Jorg Neugebauer and Kai Wiehagen’s ChargeDoubler, a USB that halves your charging speed to get your phone back up and running in super quick time.